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Understanding 9/11Der Todten-Tantz : wie derselbe in der weitberühmten Stadt Basel, als ein Spiegel menschlicher Beschaffenheit, gantz künstlich mit lebendigen Farben gemahlet, nicht ohne nutzliche Verwunderung zu sehen ist
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Signatures: A-E F
Illustrations: woodcuts copied from the Holbein designs, and from reproductions of the frescoes at Bern and Basel
Binding: old pictorial pasteboard; printed fabric spine; mottled edges
Illustrations: woodcuts copied from the Holbein designs, and from reproductions of the frescoes at Bern and Basel
Binding: old pictorial pasteboard; printed fabric spine; mottled edges
Notes
No page numbers. Light foxing.
- External-identifier
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urn:oclc:record:1042936569
![[WorldCat (this item)]](/images/worldcat-small.png "[WorldCat (this item)]")
Reviews
Reviewer:
Martin Hagstrøm
-
favoritefavoritefavoritefavorite -
June 1, 2021
Subject: Mixture of Holbein and Basel
The bulk of the illustration are those woodcuts that Huldrich Frölich published in 1588 and 1608. Most of them are (bad) copies for Holbein, but they were used for illustrating the dance of death in Basel.
These woodcuts were used again by the Mechel family for several editions in 1715, 1724, 1735, 1740, 1769, 1786 and 1796. In the mean time five of the woodcuts had disappeared, but on the other hand, the Mechels produced a few new woodcuts that actually show the dance in Basel (e.g. musician, Jew and abbess).
The text is basically from the dance of death in Basel, although several verses are missing, mainly those that couldn't be matched with Holbein's woodcuts. The two verses with Adam & Eve are from the dance in Bern, and some of the Holbein woodcuts at the end that didn't fit into a Basel-context (e.g. gambler, drunkard and robber) have verses that presumably were penned by Frölich.
It was probably books like this that spawned the misunderstanding that Holbein had created the dance of death in Basel.
Subject: Mixture of Holbein and Basel
The bulk of the illustration are those woodcuts that Huldrich Frölich published in 1588 and 1608. Most of them are (bad) copies for Holbein, but they were used for illustrating the dance of death in Basel.
These woodcuts were used again by the Mechel family for several editions in 1715, 1724, 1735, 1740, 1769, 1786 and 1796. In the mean time five of the woodcuts had disappeared, but on the other hand, the Mechels produced a few new woodcuts that actually show the dance in Basel (e.g. musician, Jew and abbess).
The text is basically from the dance of death in Basel, although several verses are missing, mainly those that couldn't be matched with Holbein's woodcuts. The two verses with Adam & Eve are from the dance in Bern, and some of the Holbein woodcuts at the end that didn't fit into a Basel-context (e.g. gambler, drunkard and robber) have verses that presumably were penned by Frölich.
It was probably books like this that spawned the misunderstanding that Holbein had created the dance of death in Basel.
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